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#they're just so <33333
lonesome-dreamsss · 8 months
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steve plays tony sappy love songs from the 40s!!! he also ventures into the 50s and 60s, hits ALL the old time-y songs. he's so in love and this is how he shows it best (along with his art of course, he has an entire sketchbook dedicated to tony).
the first time he does it, they're in the kitchen, steve's making them breakfast and tony is at the table with a coffee. steve's phone is set up, playing music, soft, quiet songs, mostly instrumentals. once he has the pancakes on a plate, he changes it to a billie holiday song. it's something so, so sappy and tony grins and is like "he's playing me love songs now?" and steve grins back and says "maybe. are you complaining?" the tips of tony's ears are pink but no, he isn't complaining, not one bit. when the song ends, tony kisses him and says "i love you too, y'know." and steve does know.
the next time, they're in tony's work shop, tony's playing around with some new suit ideas for the team and steve's drawing (tony as he is then, stained with oil smears, hair askew, absolutely beaming). steve smiles softly and requests that jarvis play this dean martin song. tony turns to look at him, that same grin he had the first time spreading across his face, "you're ridiculous." steve gives him his best who me? face and tony throws his head back and laughs.
tony takes them out of nyc, some place in upstate new york, so they could stargaze. he knows nothing about the stars, and steve is just as clueless, but it's less about that and more about just being with one another, experiencing the world's beauty together. though steve spends most of the time looking at tony because well, he's more beautiful then any star or moon. steve goes for bing crosby, and tony laughs into steve's shoulder, eyes shining in the silver lighting, "i'm starting to think you have a playlist all made up." steve presses a kiss to tony's head, "maybe i do." "sap." steve laughs, "only for you." tony then gives him the softest look, love so plainly there, and it leaves steve breathless, "aren't i lucky." steve thinks he's the lucky one.
they're in bed, tony had woken up from a nightmare and can't fall back asleep. steve's running his fingers through tony's hair and using his other hand to rub his thumb over tony's own hand. it seems to mellow tony out to some extent, but he's still tense and his eyes are glazed over, he's somewhere in his head, lost to whatever thoughts are consuming him. steve picks nat king cole now, though this time, he sings it himself. he's not a singer by any means, but he doesn't let that stop him. it pulls tony back to the present, and he cracks the tiniest of smiles. steve takes that as a win.
tony's hurt. he's hurt and he's unconscious and looks oh so pale and broken laying in the hospital bed. it's been nearly two days now, and steve is exhausted. he hasn't left the hospital chair, despite the rest of the team telling him he needs rest too. nat had almost dragged him out of there and to a shower and his bed, but he's nothing if not stubborn. she gave up, in the end, and told him to at least eat something, before leaving, saying she'd be back in the morning. steve clutches tony's hand, fighting the urge to cry yet again. he does the only thing he can think to do, the only thing that might be able to fix this in some way. he starts to sing. it's ella fitzgerald this time. his voice is dry, cracking with each word, but he keeps going. it's comforting, in a way, and he hopes it's comforting for tony too, hopes tony can even hear him. the tears come anyway, despite his best efforts, and the lyrics catch in his throat. then, in an answer to his prayers, tony squeezes his hand. it's weak but god, it's there and steve chokes out a sob, relief coursing through him. tony'll be okay.
"are you ready?" steve asks, moving to wrap his arms around tony's waist. "i was born ready, capsicle," tony says back with a wink, settling his arms around steve's neck. they fit together perfectly. frank sinatra starts to play, they had picked this one together, for this moment, and they start to dance. with the way tony's looking at him and the way the ring sits snug on his left hand, steve feels his heart swells in his chest and he can't help but lean in to kiss tony. tony smiles into the kiss and then laughs as everyone around them cheers. this is what pure happiness is, steve thinks, and rests his forehead against tony's. the song comes to a close and tony kisses him once more before tugging him towards the cake with a grin that rivals the brightness of the sun.
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that-angry-noldo · 11 months
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no one makes me grin as widely and stupidly as my silly little minecraft youtubers
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So so so! There's a collab going on the isatcord where one person can submit a sketch, the next person linearts it, and then the final one does the coloring and rendering and it's really fun!!!
For this piece, I was the one who did the sketch, @frogatz did the lineart and @bogkeep did the final rendering!!! It turned out so pretty I love <333 the little guys <3333
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fiendishartist2 · 10 months
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guess who just watched this years fourth of footwerk
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suledins · 1 year
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YOUNG ROYALS | 02.06 for @anaxibiaclark
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gxtzeizm · 6 months
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i won't ever forget to post something very special about lando's podium for this race
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no but this is truly max f being lando's wag fr celebrating lando's podium from the parc ferme 🥹🥹
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skitskatdacat63 · 1 year
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I feel like this clip from the podium deserves to be posted in full
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journeytodrawiii · 4 months
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I think this might now be one of my favourite pages in my nearly dead sketchbook. These two have had the biggest hold on my life, I see them in everything. I know they're fictional, but seriously, their love is so deep and intense. It's all I can hope one day to have. So, of course I had to dedicate a page of my sketchbook to them (at the VERY least). I drew a bunch of wholesome little interactions between the babes and then Crowley crying to turn it into something heart wrenching, because we gotta stay true to our beloved Neil Gaiman, so this is basically Crowley imagining what could've been. Hence "We could've been us." My favorite little sketch here is the one where Azi is holding Crowley's arm behind their back. The pose went surprisingly well and I feel like Crowley's face is pretty accurate to David Tennant's (however that may just be delusion powering me). ANYwaaay, I love this page so much now, in spite of the imperfections. I love y'all, stay safe!! <333
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solarisgod · 25 days
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To be honest, I really could've make Micah work in the astronomy field as an astronaut and other related positions, as xyr adoptive father inspired xem to be, and just make xem be incredibly intelligent as so many well known protagonists were, but there's something so... humanly realistic and painfully relatable in giving xem a dream that xe always wanted to achieve, but couldn't in the end because of xyr conditions, especially with xyr intellectual disability being the biggest barrier.
Micah was raised in the wild with very little socialization and learning opportunities for two years by the Incarnation of Earth who couldn't be and verbally communicate with xem in its vessel ( to protect Micah from forming deep emotional attachment with it in case xe got taken away ) before Micah accidentally burnt xyr home down and got taken away by the first responder team to the hospital. For three years then until the Everlove took xem in, Micah moved in between many foster families, with some being abusive and / or neglectful, and from the multiple stressful changes and treatments, this significantly impacted the Starwake System's social, emotional, and cognitive developments. In addition, developing Dissociative Identity Disorder, they experience dissociative symptoms that would hinder their learning and processing, such as amnesia and dissociation.
But the Starwake System having intellectual disability was especially difficult for Micah to accept when it prevented xem from being able to study in and entirely understand the subjects and knowledge that are required to work in the astronomy field. Micah had to leave xyr classroom to be placed in a special educational class when xe was nine years old and xe didn't understand why, but at ten, xe was appalled when xe had a discussion about xyr special education with xyr parents that led to xem learning about xyr dissociative symptoms and intellectual disability, and this was also when Micah was told xe likely couldn't be able to become an astronomer and astronaut like xyr adoptive father due to the complexity of the topics centred in astronomy.
As an attempt to try to prove xyr parents wrong, Micah secretly tried to take physics and chemistry on xyr third year of high school, but had to drop out a few weeks later when the school and xyr parents were concerned of xyr poor grades and performances. Micah had to take alternative courses and catch up with the weeks old lessons. The catch up game and the fact that xe couldn't do astronomy required subjects caused xyr depression to worsen since starting high school. It doesn't help that xyr childhood best friend, Adoniram, who also wanted to be an astronaut, was able to do and complete them even with the highest grades of his classes. Micah wouldn't even be able to become an aviator at least either, so feeling as xe was forever trapped in the world, xe held a highly strong self-hatred for xyr disabilities until xe was twenty two and accepted this part of xemself with the help of therapy.
Although Micah took creative writing on the third year and this increased xyr love in the art of writing before xe had a revelation xe could be a creator in arts, literature, and drama instead. Micah had to attend summer school of the same year to improve on xyr grades and took previous grade courses that xe didn't have before, so xe could be accepted in an arts university. Micah was able to enroll in one and get both of xyr associate and bachelor degree. Over time, xe became successful and was able to find joy in arts the way that outer space does. While xe may not be able to be with the stars, Micah has still been grateful that despite xyr conditions, xe could still create what would empower and inspire people, creating xyr own stars in the world that people can see only hope and love in.
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rendnotmyheart · 8 months
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Just some ramblings about the differences I've found interesting so far between the A and B texts of Doctor Faustus:
1) A-text 1.3.14 "Then fear not, Faustus, but be resolute."
vs. B-text 1.3.14 "Then fear not, Faustus, to be resolute."
Not many thoughts on this except that in the first, being resolute is put in contrast to fear, as if by being resolute Faustus can assuage his fear. Whereas, in the second, being resolute is what is to be feared. It's Faustus trying to assuage his fears about being resolute.
2) A-text 1.3.45 "No, I came not hither of mine own accord."
vs. B-text 1.3 "No, I came now hither of mine own accord."
Just completely different meanings here. Did Meph come of his own accord when Faustus called or not? Well, you get a completely different answer to that depending on which text you read. (I like the second one, and I think it makes more sense for it to be "now" instead of "not." These two are close enough though that I feel like one of them is probably just whoever wrote the quarto mishearing the word)
3) A-text 2.1.136-142 "Faus:...cannot live without a wife / Meph: How, a wife? I prithee, Faustus, talk not of / a wife. / Faus: Nay, sweet Mephistopheles, fetch me one, for I will / have one. / Meph: Well, thou wilt have one? Sit there till I come. / I'll fetch thee a wife in the devil's name."
vs. B-text 2.1.136-138 "Faus:...and cannot live / without a wife. / Meph: Well, Faustus, thou shalt have a wife."
I thought it was interesting that the B-text didn't have this little spiel. In my other edition based on the A-text, the footnote for "How a wife? I prithee, Faustus, talk not of wife" says that Meph can't produce a wife for Faustus because marriage is a sacrament. Which I don't think marriage is a sacrament for Protestants? But it is interesting to think about how marriage is something holy, and therefore even when Meph eventually fulfills this request, he specifies that it's a wife in the devil's name, not God's.
I just really like that little bit of nuance about wives and marriage, and was like :// when the B-text didn't have it.
4) And right after that part above the stage directions for each are: A-text "Enter Mephistopheles with a Devil dressed like a woman"
vs. B-text "He fetches in a Woman Devil."
Which is just so so interesting. The distinction between a devil dressed like a woman and a woman devil. One is not a woman, just pretending to be. The other is a woman, but it's also a devil. Idk, it's just so so interesting.
5) A-text 2.3.17-24 "My heart's so hardened I cannot repent. Scare can I name salvation, faith, or heaven, / But fearful echoes thunder in mine ears, / 'Faustus, thou art damned.' Then swords and knives, / Poison, guns, halters, and envenomed steel / Are laid before me to despatch myself; / And long ere this I should have slain myself / Had not sweet pleasure conquered deep despair."
vs B-text 2.3.18-24 "My heart is hardened; I cannot repent. / Scarce can I name salvation, faith, or heaven. / Swords, poison, halters, and envenomed steel / Are laid before me to dispatch myself; / And long ere this I should have done the deed, / Had not sweet pleasure conquered deep despair."
Ok first of all, "My heart's so hardened I cannot repent" vs. "My heart is hardened; I cannot repent." To me, the first puts more emphasis on the degree of hardendness, which makes it feel more nuanced than the second. In the second, his heart just is hardened and that's why he can't repent. In the first, he can't repent because of the degree to which his heart has hardened. Idk, the first give off "how has it gotten this far?" vibes, while the second gives off "this is how it is" vibes to me. Add the extra two lines of the A-text to that, and it really emphasizes the way Faustus's fate is being shaped in contrast to the the B-text simply stating how things are. The hardendness is a degree; it has become hardened rather than it is or it isn't hardened. There is an echo that reminds him he is damned when he thinks on heavenly things, an echo that is followed by the appearance of various weapons. It emphasizes the series of actions that lead to an end instead of just stating the facts that Faustus can scarcely name heavenly things and that weapons appear before him. Idk, the A-text seems to show how Faustus believes he is damned while the second just tells us everything straight up.
6) A-text 2.3.76 "Never too late, if Faustus can repent."
vs. B-text 2.3.80 "Never too late, if Faustus will repent."
Can vs. will. One's ability to do something vs. one's choice whether or not to do something. Again, I really like the A-text, the question of can Faustus repent rather than will he. It's just so much more interesting to me to ponder how much control he really had over his fate than how he came to one choice or another. Like sorry, but that's so boring. Literally who cares what Faustus chooses. I care about whether he ever really had a choice to being with. That's so much more interesting.
7) A-text 2.3.161 "O, this feeds my soul!"
vs. B-text 2.3.63 "O, how this sight doth delight my soul!"
Nothing here except that I adore the A-text's line because of the way Faustus using magic is characterized as gluttony or surfeit throughout the play. I like how the A-text taps into that metaphor again.
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chaotictomtom · 7 months
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i just was going to post them separately but then realized they're next to each other. and they're both haunting the narrative. they deserve a post together </333
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didderd · 1 year
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KING. FUCKING. KING.
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valleynix · 6 months
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How I Would Have Written Resident Evil: Village
let me preface this by saying a few things: i am slightly tipsy as i write this, so i apologize for any misspellings, incorrect lore, or things not articulated well. i also do not hate Ethan nor the original story of RE8, but i do think there was a lot of wasted potential and unnecessary plot holes
moving on, under the cut
i'll start off by saying that i loved Biohazard. it's genuinely one of my favorite games and the atmosphere is done so well. i love the horror, the mix of action, and the genuine fear you can feel as you run around, searching for answers.
Village did not have this, and it was a massive disappointment, as was the game itself, overall. i do still love it and it'll always be one of my favorites, but Capcom fumbled hard with the plot and the general story.
let's start off with this: in my own little fantasy land where Capcom doesn't hate women (joke), Mia would have been the protagonist in Village. think about how well the story could have gone between her knowledge from the Connections, her unknown relationship with Miranda, the fact she likely would have been struggling to actually fight (just like Ethan should've), and how much different her interactions would be.
i'm genuinely so tired of seeing husbands and/or fathers searching for their lost wife and/or child in horror games. appeal to a different audience!!! where's my mother searching for her lost child, taken by Eldritch horrors???
anyway, i won't be super detailed, but we'll say Mia is the protagonist and Ethan is sidelined :3
throughout the game, i personally would have made it much more obvious that the lords are indeed a family. like, i thought it was obvious enough, but apparently lots of people in this fandom didn't get the memo?? so i would make it more apparent.
and just like i mentioned in the one video i'd already made on this (kinda), i would have changed the lords' appearances and their deaths, pretty much meaning that only Donna (maybe) would have been killed. everyone else would have just been something for her to escape from.
(i'm sorry this isn't super detailed. i don't want it to turn into an eight hour essay, which i may do for a video later on, but anyway)
i will say that i probably would have changed the beginning sequence and made it more mother-daughter focused before Rose is taken. like, imagine Rose being kidnapped right from under Mia's nose without all the brutality and shooting, as comedic as that was, once you knew. the whole thing with Chris not telling Ethan what was going on was probably the dumbest thing in these games and i will forever stand by that.
so, we'll just say that Miranda somehow finds a way to subdue Mia long enough to kidnap baby Rose, and Mia wakes up cold and alone and has to follow a barely-there trail of footprints and feathers that eventually lead her to the village and the horrors within
i also probably would have kept the game during nighttime or early morning, simply because of how terrifying that would be. it's not as fun when you can blatantly see the mutants trying to stalk you (ahem. lycans.)
at this point, Rose is taken and we now have an angry mother on our hands that is very wary of what's going on around her, but now knows that Miranda is a culprit (because in my mind, Miranda has no real reason to hide from Mia, and came to her in her true form). this would leave the audience to question what she really knows and what she's been hiding, and while it would create skepticism, it would also generate curiosity.
Mia traverses the village in relative darkness, led only by the moon's light (hehe symbolism) and the occasional torch. she searches the village for any inhabitants, and while she mostly finds blood and corpses, she also finds a group of people still surviving and untrusting of her.
i think the scariest thing would be that every time Mia progresses and comes back to the village, more people are missing and she finds out rather quickly that it's Miranda's doing. this would leave a sense of fear within her: Miranda is watching and waiting, she is causing Mia distress and threatening her without outright doing anything, letting her know she is unsafe and alone without ever laying a hand on her.
we'll say she goes to Donna's first, under the impression that the hermit dollmaker could have taken Rose per Miranda or she's just being mislead by Miranda posing as a villager (or even the witch lady). from there, she's forced through hallucinations, vivid fabrications of Rose and Ethan, all while struggling to see what is real and what's made up.
she finds out that Rose isn't at the Beneviento Estate, but now, Donna isn't letting her leave. she's not allowed to let her visitors through those doors, saying something similar (though perhaps slightly more afraid) to, "Don't leave... I can't let you." this may hint at the fact that Donna herself does not want to hurt Mia, but cannot let her leave.
Donna's boss fight consists of hallucinations and fabrications, and Mia "dies" when she succumbs to one and doesn't realize what it actually is. there is no "monster" in this section, but it's probably one of the scariest parts, as it takes place throughout the blackened estate and the dolls are, in fact, still moving and making little noises.
Mia escapes somehow, and when she returns to the village, she overhears a conversation from Miranda and someone else (perhaps Rednic?) basically hinting at the megamycete and the ritual and what needs to be done. this begins the plot of finding out what the fuck is going on and where the hell is her daughter, which she believes will be found together.
(sad mother moments, of course. i'd make them tearjerking.)
Mia then finds herself stumbling to Moreau's reservoir, cold and angry, and from here, she starts to realize just how deep Miranda's corruption really goes and how much danger she's actually in. in her mind, prior to this, she thought Miranda was under some kind of control or that she was simply a lackey in a larger scheme of things.
after all, the Miranda she knew was much different than this one, much less angry and violent. Mia doesn't recognize this woman any longer, and she begins to find herself very afraid of what she's gotten herself into, though she doesn't regret it.
Mia hears Moreau's pleas for his mother to help him, to be proud of him, to notice him, and all Mia can feel is the heartbreak of a mother watching this child throw a tantrum for his mom's attention. she tries to kill him, but in the end, she finds herself out of ammo and cornered and freezing her ass off, as well as injured from wounds so graciously gifted to her by lycans and the varcolac.
she escapes, leaves Moreau to his cries and his desperation, and at this point, Mia wonders just how much farther she can go until she collapses. she remembers those little moments with Rose when everything was starting to look up and when she thought her life was going to be normal again, and for a time, she fades into unconsciousness.
when she wakes, it's eerily quiet, and she knows she needs to leave. after more of the villagers go missing and they mention laughing and screaming from the castle, Mia decides she will go there next in her attempt to find Rose and take her away from this fucked up place, get her out of Miranda's grasp before she can do god knows what with her.
the castle is... eerie, yes, but not quite as dangerous as she had been expecting. she meets the Dimitrescus and she's most likely flirted with a bit (as they tend to do), and because Mia is a woman, her pleas are heard and she is allowed to speak, if only for a moment. they come to find that Mia is only there for her daughter and she will gladly leave once she's found, but they're under orders from Miranda now to keep Mia alive (wink wonk).
that doesn't stop them from chaining her up and giggling as they leave, as they did before. i'd make the castle much darker and make more noises throughout the halls, like footsteps or quiet laughter, maybe some soft clanging or things slightly being moved, like vases or chairs, only for there to be nothing.
it's creepy, but there's nothing outright dangerous until Mia finds herself cornered in the kitchens with a very angry Bela now out for blood. she holds back only a little during this little spat, but eventually, it gets to the point that Mia shoots open the window and only distracts Bela before she runs and manages to get away.
(it's now a safe room for her, as Bela would have run away when her weakness was exposed and warmed up, bruised ego be damned. she'll just regroup with her sisters and go from there).
i think the phone call scene would still happen, but it would be a little different. at the very least, it would still show that Miranda does not care about the lords as much as she claimed to and cares more about the ritual and ceremony, but now Lady Dimitrescu is pissed and wants Mia out of her castle before she can actually kill one of her daughters.
(i like to think Bela and/or Cassandra would be in the room, quietly observing, and if the player looks away long enough, looking back would show one or both of them staring right at Mia before quickly looking away. you know the drill).
Mia somehow finds a way to sympathize with Lady Dimitrescu, perhaps because she refuses to kill Daniela while the former is nearby or something, and she ends up escaping (though it's obvious the action is allowed, as Lady Dimitrescu is blatantly keeping her distance but ensuring Mia is chased out. yada yada).
more creepy village stuff happens, more fights with lycans, blah blah. i'm not entirely sure what to do here, but i'll think more on it.
the factory would be last, and i think it would be incredibly interesting with Heisenberg likely knowing that Mia and Miranda had a past together. he might try to use that against her and try to convince her that Rose is their only hope for being free (maybe playing into what she'd seen with his siblings), but he's ultimately denied again.
Mia doesn't know this dude, doesn't know his true intentions or if teaming up with him will guarantee her death at the price of his freedom. everything she'd gone through would have been for nothing, and so, she refuses.
i think the factory would have been creepier if the mechanical noises weren't so loud and in-your-face, but that's just me. keeping the lights low and the enemies quieter but still lit up would have been great, but oh well.
after making it through the factory and proving how strong she really is (never doubt a mother), she is, once again, faced with the opportunity to join Heisenberg or join the dead. she denies him once more, manages to escape the factory (and Sturm) as metal flies by and she's probably pierced a few times, and when she eventually becomes free, she just collapses in the middle of a dusk-lit village.
she's been through so much, lost everything dear to her, and she still hasn't found answers or her daughter. she begins to wonder if she ever left that first hallucination at Lady Beneviento's but she's too tired to care-
and then the moldy tendrils begin breaking from the ground, near enough to terrify her but far enough to know that she's not in immediate danger. she hears laughter and searches through the mold (which she comments on), vision blurry, only to completely freeze when she finds Miranda standing near one of the tendrils, watching her with a fond smile on her face.
this is all i've thought about (because the ANGST of seeing your, at the very least, old coworker/friend who is now a CULT LEADER and trying to kill you...) but i'll probably expand way more on it if i ever do a video on it. i didn't want this to turn into a massive ramble (even if it already did), so i'll pause here for now.
i didn't hit everything i wanted to and i'm sure i'm missing a LOT of points, but these were all the major things i would have changed or implemented. i am very tired and tipsy, and i do apologize for anything that doesn't sound quite right or that's left with like... no other point or explanation. i'll do better next time <33
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starpros-sunshine · 1 year
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Actually no this gets it's own post just. The contrast between immediate post-war era Eichi and later ! Era Eichi or !! Era Eichi is just soooooo good because in Blackbird he's in this hospital room he's described as emaciated because he doesn't eat he completely shut himself off and refuses treatment because he doesn't want to live anymore and feels so guilty and horrible and then he gets this visit from Wataru and suddenly he has something to be alive for againbso his revolution doesn't go to waste and you can see that in how enthusiastic he is about rewriting that script of natsumes pipe dream together with Wataru and then somewhere along the line in ! Era during kenkafes he says that he's glad he's alive and just. In the ! Era stories in general he likes living he's still not letting himself believe people genuinely like him for who he is and he still feels horrible about the war (that doesn't change even in !! Era) but he doesn't want to die like that anymore and then in !! Era we have him and he's happy and he's still a workaholic who could take better care of himself but he has his fine now and they love him so much he's their beloved leader and they invented Eichi-days just so he would rest and he's healing and learning to accept the love and support he's recieving for what it is and. Head in hand I just love him so much guys the Character Development!!
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stick-by-me · 7 months
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A pretty spider friend!
(From this shop here!)
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gayofthefae · 1 year
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If Steve Harrington’s arc isn’t that he doesn’t need a romantic partner to depend on for happiness and a platonic soulmate like Robin can just absolutely be enough and he can still have that wife and kids eventually but he doesn’t need to hold onto it so hard and can just live in the present moment and focus on his friendships like Dustin and to my preference even platonically including Nancy and Jonathan but most prominently that his search for a soulmate has ended and it’s allowed to be Robin then I don’t know what I’ll do.
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